What sparked your interest in audio engineering?
I actually didn’t know much about audio engineering until I studied at Pyramind [now Music City Accelerator in San Francisco]. We had a class called Audio Fundamentals where we learned everything about how a studio works, patching microphones into preamps, using outboard gear, understanding signal flow, audio converters, and more. That’s where I first realized how much of a difference a good signal recording makes. Tracking my vocals in the school’s studio – especially through a preamp and in isolation – sounded so much better. We had an Avalon channel strip, which gave me my first hands-on experience with analog compression and EQ. At first, I just wanted to learn enough to make better sounding music myself, to understand how to use the studio gear to my advantage. But the more I learned, the more I realized that audio engineering is a whole world of its own. But it wasn’t until I started working at Sonic Ranch that I fully grasped what being an audio engineer really means. I came to understand that it’s not just about gear. It’s a craft; a creative and technical role in its own right. The deeper I dive into it, the more fascinating it becomes. Audio truly is a deep well.
Did you intern or work at studios in Mexico City?
I did some brief work at a friend’s studio, mostly recording live sessions and working on music for ads. I haven’t had the chance to do sessions in the major studios in Mexico City, but I’d love to. Last year, I had the opportunity to visit several of them and meet the people who work there, mostly through connections I made at Sonic Ranch. It’s interesting how interconnected the audio world is. Everyone seems to know someone you know. It’s inspiring to be part of this community where you’re constantly meeting people who are involved in all these exciting projects.
What was going on musically in Mexico City when you were learning the craft? Did you have mentors there?
When I was in college, I had a band with some friends, and we started making demos on Ableton Live. That’s when I really got into music and composing. I was fascinated by how powerful a DAW can be; there are so many underrated tools at your fingertips. I dove deep into all the built-in soft synths and effects, experimenting and learning as I went. I remember taking an online Ableton class taught by a musician who played keyboards for St. Vincent [Tape Op #134]. He was in charge of triggering all the MIDI sequences during her shows, and through that course I learned how to do things like dummy clips, tempo changes, and preset switches for our live gigs. Funny enough, years later I met Rachel Eckroth, St. Vincent’s current keyboardist, when we recorded her solo record [The Garden] at Sonic Ranch. It felt like things had come full circle. Having mentors is great, and I really value those relationships, but there’s also something special about figuring things out on your own with your friends. There’s no one telling you what’s right or wrong, so it stays positive and exploratory. And since you’re not doing it for money, it’s all driven by passion, which, honestly, is the best motivation there is.
You received a scholarship to Pyramind. Had you applied to multiple programs in U.S. or abroad?
I had never applied to anything on my own before. My previous band once won a contest that gave us the chance to record an EP at a nice studio, but the Pyramind scholarship was the first time I applied for something solo. Honestly, I didn’t expect much from it. I had been following Pyramind’s YouTube channel for a while. Matt Donner, one of the founders, had these incredible instructional videos on music theory, arrangement, and rhythm. I watched them all the time and learned a lot. One day, they posted a video announcing a scholarship contest for their Electronic Music Producer Program at the San Francisco campus. The winner got a full year tuition free. To apply, you had to submit one of your original productions along with a video explaining why you deserved the scholarship. I decided to go for it and sent in one of my songs. Somehow, out of all the applicants, I was selected. I packed my bags and started a whole new adventure in San Francisco. I hadn’t applied to any other programs in the U.S. or abroad. This one just felt right, and I’m really grateful it worked out.
How did you later end up at Sonic Ranch?
My dad was actually the one who introduced me to Sonic Ranch, which is kind of wild since he’s not involved in the music industry at all. One of our neighbors had a brother, Rafael Guevara, who used to work there regularly. He produced a lot of norteño bands and had a strong connection with the Ranch. Sadly, he passed away, but he was the one who originally led me in that direction. At the time, I was interning at a studio that primarily focused on acoustic music. We worked on some beautiful records, solo harpists, pianists, and cello duos – very delicate, intimate sessions. It taught me a lot about precision and attention to detail, especially when recording quiet instruments. But I was ready for a new challenge. I wanted to work in a larger studio, on bigger projects, tracking drums, doing full rock albums, and diving into a more dynamic and fast-paced environment. That’s what drew me to Sonic Ranch, and it ended up being exactly the kind of experience I was looking for.
Sonic Ranch is so remote. Do you live near or at the ranch or travel in from El Paso?
I live a few miles away from the Ranch – you kind of have to if you work here. Sessions can run really long, often going past midnight, and commuting an hour back to El Paso every day just wouldn’t be sustainable. At first, I really missed the city. I grew up in Mexico City, which to me always has felt like this gentle giant, chaotic but comforting, and always offering something. Over time, though, I’ve learned to appreciate the countryside. It’s amazing to have clean air, quiet nights under vast skies, no loud traffic jams – just the occasional blast from a double Marshall stack.
How do you craft an individual sound for each client?
I always start by trying to understand where the artist is coming from and where they want to go. About a week before the session, I ask them to send over demos of the material we’ll be recording, along with references or songs they love. That gives me a chance to really listen to their music and imagine what it could become. It’s a bit of a guessing game at first, but those references help me better understand the kind of sound they’re aiming for. I try to align with both the artist’s and the producer’s vision. They usually have specific gear requests or sonic ideas in mind, and it’s exciting to start uncovering those imagined sounds once the session begins. Every musician brings their own playing style to the table, which also influences the sound. For example, if a drummer plays very loud or a guitarist is unintentionally adding noise, I’ll point it out. If they’re okay with it, we move forward and work with it. It’s all about communication and mutual understanding. One project where we got wild sounds was with Christian Lillinger, Elias Stemeseder, and Tim Lefebvre. They usually perform together at jazz festivals – contemporary music, experimental stuff. Crafting their sound was a blast. Christian’s drum setup included distortion and a whammy pedal, which sounded pretty rad. Elias’s setup changed with each piece, but one of my favorites was when he ran a harpsichord through a modular synth – truly unique textures. In another track, we pitched down the left hand of the piano by two octaves and processed the right hand with Spiff, a transient designer plugin. The result sounded so crazy and cool. Every session is different, and I love that challenge of shaping a unique sonic identity for each artist.
What mics and gear do you use every day?
It really depends on what I’m working on, but for drums I rely heavily on the [Neumann] U 47fet for the outside kick mic. I’m not sure when we collectively decided that kick and snare were in the top five most important elements in a mix, but here we are so we might as well make sure the kick has a solid, deep low end. For a crush mic, I’ve been loving this old Lanier DM-1525. It handles distortion well, never gets overly bright, and since it’s omni you get a nice overall image of the kit when you place it just above the kick. As an extra flavor on drums, I also love using the CompTortion pedal by Tech 21. It gives the drums a drum machine like quality. After that, I’ll usually tame the sustain with an SPL Transient Designer Lately, I’ve also been using the [Garbage Ideas] FK Comp, a 500 Series compressor made by my friend Jason Kingsland. It can do anything from heavy compression to subtle harmonic distortion. I’ve been using it quite a bit on drum room mics – it adds a really exciting dimension to the performance. For grand piano, I love using a pair of Neumann KM 253s. They make piano sound massive and warm; very natural but full-bodied. And we recently got an RCA 44-B, which has quickly become a favorite for vocals. You do need to EQ it a little, but the midrange is incredible. It brings a ton of character and vibe to the vocals, with just the right amount of harmonic distortion. It feels like you’re listening to a vocal take straight off a tape machine.
What do you do with your time when you’re not in the studio?
To be honest, between recording sessions, mixing and producing, I haven’t had much free time lately. When I do get a break, I like visiting my family in Mexico City if I have a couple weeks off. If I’m staying local, I enjoy going to shows, watching movies, or going cycling. My favorite hobby ended up becoming my job, so I’m genuinely happy making music in any form. That said, burnout is real, and finding balance is important. There have been moments when I’ve felt like I didn’t enjoy music anymore, but it’s never really the music itself. It’s usually the situation – a tough session or some outside pressure – that makes things harder than they need to be. Taking a step back now and then helps me reconnect with why I started doing this in the first place. I’m still trying to find a healthy balance between work and social life. It’s tricky because most of my friends are also in the music world, so even when we hang out it usually ends up being music related. It’s still fun, but I often catch myself wanting to go back to the studio or start mixing again. I’m working on not giving in to that every time but it’s tough.
How do you see your role as an engineer when working with different producers and artists?
I try not to impose ideas or push suggestions just for the sake of it. The producer and artist have often been living with these songs for months, sometimes years. They know the material deeply and have already spent time comparing it to their favorite artists and references. My role is to support that vision, not override it. That said, I do speak up when it comes to audio quality. I might suggest a different sound, highlight something that feels out of place, or offer a potential improvement. Most ideas are welcome in a session as long as they’re presented constructively.
But throwing too many things at the wall can also lead to confusion or distraction. I see myself primarily as a problem-solver, someone who uses tools like microphones, preamps, compressors, and EQs to help bring the artist’s vision to life, or even enhance it beyond what they imagined. That also includes capturing great performances, encouraging an extra take, or making small edits that elevate the song. My job is to make the technical side invisible, so the emotion and message come through loud and clear.
Any advice for people trying to work or break into the audio industry?
My advice is simple: keep learning. This is a never-ending process. Knowing the theory is important, but it’s not enough. You have to train your ears, compare your work to your references, and develop a strong attention to detail. Also, don’t be afraid to make mistakes. Own them, apologize if needed, and always ask for help. Being in the studio with people who know more than you, or with famous artists, can be intimidating. But open communication clears the air and can be incredibly helpful. And finally – be patient and trust the process. Music is a complex, often nonlinear, journey. There’s no exact formula for creativity or songwriting. When you’re experimenting in the studio, don’t get discouraged if an idea doesn’t work out. Usually, those “failed” ideas bring you closer to the right one. I was really surprised by how much trial and error happens when producing a song. When I worked with Portugal. The Man, their sessions were massive, sometimes with over 500 tracks and tons of hidden takes. They recorded drums in multiple ways with different drummers, and the song structures changed repeatedly. Every idea, good or bad, shaped the final outcome. And the ideas that stuck? They were truly top-notch.
Who are some of your mentors?
I’ve learned a tremendous amount from Chad Copelin over the years. We’ve worked together on many records, including projects with The Strumbellas, Wilderado, Little Image, flipturn, Katelyn Tarver, Labrys, and Colony House. Chad has taught me everything, from how to work with a band effectively to how to really listen to the masters of the songs you mixed or produced. He’s an amazing audio editor, and through him I learned how to move audio clips around, tune vocals properly, and properly quantize. He also showed me how to capture great tones on guitar, drums, bass, and synths, and how to process those sounds once they hit the DAW. Having a mentor like Chad, who generously shares his knowledge without reservation, is invaluable. You improve so much faster when you have someone great to learn from. It’s something people often overlook. If you want to become great yourself, you need that chemistry and a mentor who’s willing to guide you. Tyler Chester is another mentor who’s had a big impact on me. He’s produced artists like Madison Cunningham and Margaret Glaspy, among others. Tyler taught me how to get incredible sounds using vintage gear, and he introduced me to projector amps, a variety of microphones, tape machines, and the art of miking a whole band playing together in the same room. His approach is a bit more old school, and I love that about it. The recordings we’ve captured have a magical quality, the musicianship is stellar, and some of those songs are among my favorites I’ve ever recorded. Tim Lefebvre has also been a huge mentor in my life. Tim truly embodies music. He’s primarily a bass player, but he can play almost any instrument because he knows exactly which notes he wants to play before even hearing them. He can identify those notes by ear. His musical ideas are incredibly original and creative, drawing from an eclectic taste beyond mainstream pop, and always with a unique twist. Tim has been a huge source of confidence for me, being one of the first to trust me to record his projects. Since then, I’ve engineered several records for him, and we’ve also produced and written songs together. It’s incredible to collaborate with such giants and create great music in the process.
Future plans?
Nothing set in stone just yet. My plan is to keep engineering, deepen my skills in mixing, and continue producing songs. I’m not sure how much longer I’ll be working at Sonic Ranch, but it’s been an incredible journey so far. I’m really grateful to Tony [Rancich, owner] – he’s been a huge support during these early years of my career. I also feel like I might eventually make the move to L.A. Career-wise, it just seems like the right place – so much is happening there. Maybe in a few years I’ll take that step. 
